Room 23

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Room 23

A gathering place for those who love the ABC TV show Lost. This blog was started by a group of Fans who kept the Season 3 finale talkback at Ain't It Cool.com going all the way until the première of the 4th season as a way to share images, news, spoilers, artwork, fan fiction and much more. Please come back often and become part of our community.

Tuesday, August 2, 2011

I came upon Nerdy Shirts recently and I have to say that I’m extremely impressed. There are tons of Geek T-Shirt on-line stores out there, but none of them seem to have the selection that Nerdy Shirts has. More importantly I don’t think that I have ever seen a place with old school 8 bit Nintendo themed shirts. I really had a hard time selecting two shirts because of the great variety of shirts that I wanted. I ended up choosing the A Princess Bride themed shirt with a name tag that said “Hello my name is Inigo Montoya, you killed my Father, prepare to die”. And another Legend of Zelda themed shirt with a picture of the weapon selection box that says “Don’t make me go Zelda on you”.Both shirts arrived very quickly and the cotton fabric is thin which is great for summer and has a great elasticity to it which makes it combined with the softness of the material extremely comfortable. The prices are reasonable and best of all they offer free shipping and returns along with gift cards which is a great gift idea. I wish that they had shirts from the TV show LOST or FRINGE (hint, hint), but I felt that the store had enough nerd related themed shirts to warrant a review.http://www.nerdyshirts.com/

Friday, July 8, 2011

Pearson Moore has brought us another great Lost book, this time about the various characters! The characters of LOST come alive as never before in LOST Identity, the second in a series of companion books by always-insightful Pearson Moore. You will see your favorite characters in a new light as Moore illuminates the fascinating connections and conflicts between the most important and beloved survivors of Oceanic Flight 815. What was Vincent’s secret role on the Island? Who was steadier in faith than John Locke? What was really behind the apparitions of Jack’s father, Christian Shephard? Which of the characters altered the course of the past and paved the way for Jack to become the Protector of the Island? These questions and hundreds of lively topics are addressed in the 320 engrossing pages (80,000 words) of LOST Identity.

The book contains 18 ArtGUS original drawings, including 19 character portraits, five of which were commissioned especially for LOST Identity. The five new original works include beautiful interpretations of Rose Nadler, Danielle Rousseau, JinKwon, Sun Kwon, and Kate Austen. These new creations have never been seen before, and are not available for sale anywhere. They may be viewed only in the pages of LOST Identity.

LOST Identity is really two books for the price of one. You receive 19 full-length essays by the most sought-after expert on the characters and mythology of LOST, as well as 19 character portraits by the most celebrated LOST portrait artist in the world.

Moore has been a fan of ArtGUS for many years. “ArtGUS is the best portrait artist I have ever known,” Moore said. “His work is not only visually stunning, but his mastery of the craft brings out in each drawing the essence of the character. I am honoured and humbled that ArtGUS has agreed to collaborate with me in this venture.”

Moore has never shied away from controversy, but he backs up his challenging ideas with solid research. He is probably best known for his unorthodox theories on the significance of Christian Shephard, and he devotes an entire chapter once again to this most fascinating character. This time around, Moore pulls no punches, laying out in clear language exactly what was responsible for the on-island apparitions of Jack’s father.

But the meticulously-researched chapter on Christian is just the beginning. Moore exposes Jacob’s “secret weapon”, and explains why Jacob’s deception was necessary to the final outcome on the lava cliffs. He looks closely at the complicated time loops and time travel chronologies and offers his ideas on how the past was changed, and time loops destroyed, so that Jack could finally rid the island of the Smoke Monster.

Nineteen Characters

Above all else, this is a book to be cherished for its reverent approach to the nineteen characters brought to life in its pages. Choosing both major and minor characters for

this set of essays, Moore sheds new light on well-known characters, making them fresh and exciting once again, using the thoughtful prose style that has made Moore’s essays must-read material for every serious fan of LOST.

LOST Identity is available in ebook format at Amazon.com. The cost is just $4.99. http://www.amazon.com/LOST-Identity-Characters-ebook/dp/B0058IZDA6/

LOST Identity will be available in paperback format on July 14, 2011 for the low price of $9.95. It will be available at Amazon and directly through the publisher, CreateSpace. To learn more, visit http://pearsonmoore-gets-lost.com/LostIdentity.aspx

LOST Humanity, Moore’s book on the mythology and themes of LOST, is available at Amazon.com through the Independence Day weekend for just $2.99! http://www.amazon.com/gp/product/B004RVNGR2/

Wednesday, March 16, 2011

I was recently made aware of Pearson Moore's "Lost Humanity" and was able to read a chapter of his book on his website and I have to say that I'm very impressed. Pearson dives deep into all of the references on LOST and is able to make you think about it all in a different way that brings things together in a more concise and simple way. I highly recomend that you purchase this book via Amazon or in ebook form.

"LOST Humanity" just published on Amazon. I wrote the book for everyone with an intense interest in the show, and thought you might enjoy taking a look at it.

I'm calling "LOST Humanity" a "post-graduate course in LOST." I assume throughout that anyone reading the book has seen every episode, so I waste no time with introductory or recap-type material--it's just hard-hitting analysis from cover to cover. People have really taken a liking to the four "nonlinear" types of analysis in the book, and especially the chaos-based analysis regarding Lorenz Attractor pairs. It was fun to write, and apparently fun to read, too!

You can read more about "LOST Humanity" here: http://pearsonmoore-gets-lost.com/default.aspx It is available here: http://amzn.to/dEA5yvAll you need to read it is a computer, ipad, or mobile phone. You can download FREE Kindle software for your computer or device at Amazon.

Thursday, March 10, 2011

You let go. Really, you did. When Lost ascended to the TV afterlife last May, you returned to your normal life, paying those overdue bills, mowing your overgrown lawn, even resuming communication with those who couldn’t understand why you wanted to own a jar of Dharma peanut butter. But perhaps somewhere in the recesses of your brain, as you saw an Elizabeth Mitchell or a Daniel Dae Kim pop up on your flatscreen, you started thinking about our dear castaways. Where are those Lost actors now? Do you they miss working on the show? And is it true that Josh Holloway cut his hair?

Those burning questions — and more — are answered in this week’s issue of Entertainment Weekly. We interviewed a bunch of cast members, including Matthew Fox, Josh Holloway, and Elizabeth Mitchell, and caught up the men in charge of the show, Damon Lindelof and Carlton Cuse, as well as co-creator J.J. Abrams. The good news? No one is currently roaming the halls of a psychiatric facility in a bathrobe, repeatedly chanting six numbers. Some more good news? Several familiar faces — such as Jorge Garcia, Michael Emerson, and Henry Ian Cusick — are plotting their return to series television by starring in drama pilots. Another has landed on the stage: Mr. Fox is currently in London, starring in a new Neil LaBute play titled In a Forest Dark and Deep. “A play in the West End of London is something I’ve always dreamed of doing,” he tells EW, noting that “it’s been my goal after Lost to get into a situation where I’m doing a film here and there and a play here and there — that broad of a structure.”

Fox isn’t the only former cast member exploring new ground in Europe: Holloway recently filmed scenes for Mission Impossible: Ghost Protocol, starring Tom Cruise. While he can’t spill too much about his role, he does hint, “I’m definitely doing some ass-kicking.” And because he’s down for all kinds of challenges in this next phase of his career, he’s guest-starring in the paintball-themed season finale of Community. “There’s a couple of good one-liners in there,” he says. “I hope I pull them off!” (Fingers tightly crossed for a Troy and Abed in the Morning segment with Holloway.)http://popwatch.ew.com/2011/03/10/life-after-lost-fox-holloway/

Sunday, March 6, 2011

Saturday, February 12, 2011

Order my Swan Hatch Trading Card Holder and get a free Booster Pack of Cards (1 OR 2)!

Just cut and paste "If we can't live together, then we're going to die alone." and which Booster Pack that you want "Booster Pack #1" OR "Booster Pack #2" into the instructions and I will include the card pack in your order!

Friday, January 28, 2011

I love how this article goes through Carlton's journey in finding a new show to run. Great stuff, skip to the last paragraph if you just want to find out what his new show is. Otherwise take your time with this great read!

LAST summer I went hiking with my teenage daughter in the Swiss Alps. On the first day we left the small village of Wengen and climbed above the timberline to a mountain outpost, Kleine Scheidegg, where we stopped to catch our breath. As I was drinking some water and taking in the awesome panorama, I noticed a hiker approaching. He was bearded and sunburned, wearing a kerosene-stained Swiss mountaineering pack and using trekking poles. I thought he was going to warn us of some danger. Instead he walked up to me and in German-accented English asked, “Are you Carlton Cuse, from ‘Lost’?” Startled, I answered, “Yes.”

The “Lost” show runners, Carlton Cuse, left, and Damon Lindelof.Then he said, “Why did you not explain the polar bear?” As he detailed his own theory of how polar bears ended up in a tropical jungle on “Lost,” my daughter rolled her eyes. Even here in this remote spot I could not escape the last six years of my life. I had spent that time working an average of 80 hours a week writing and producing a TV show. After “Lost” ended last May, the first thing I wanted to do was go someplace far away and clear my brain. But I quickly discovered there was a big difference between getting away and leaving the show behind.

There is a story told in Hollywood about how right after “Tootsie” had its premiere, Dustin Hoffman was walking the streets of Manhattan with a friend when he saw his name on the marquee of a theater. He turned to him and said in all seriousness, “Do you think I’ll ever work again?”

Though probably apocryphal, this story is quite reassuring to those of us who work in the film and TV business. It underscores that even the most talented among us, after an intense period of work on a project, struggle with the question “What do I do next?”

“Lost” was a success in over a hundred countries around the world. It spawned a new term — transmedia — to describe all the associated media content (like Webisodes, alternative reality games and viral videos) surrounding a TV or film project. It was such an overwhelming phenomenon, how could I get past the large shadow it cast over my life? Should I even try?

The magnitude of my predicament seemed apparent to everyone around me. Even before the show ended, the “what are you going to do next” question seemed to be the first thing out of everyone’s mouth. What did it mean that I didn’t have an answer that satisfied me or anybody else? Most of all I wondered what, if anything, would get me excited enough to go back to work.

I was responsible for my own fate. Right around now a new season of “Lost” should be making its heavily promoted debut. Instead, three years into the show my partner, Damon Lindelof, and I did something that had never been done before in network TV: We negotiated an end date. Like J. K. Rowling, who told her readers there would be seven Harry Potter books and no more, we wanted to define the length of the show’s journey for our viewers. We agreed with ABC to make 48 more episodes over three seasons. For us, “Lost” was a story with a beginning, a middle and an end, and we wanted the opportunity to tell our story, and wrap up our show, on our own terms. The result was, we canceled ourselves.

In network TV when a show ends, it disappears from sight as quickly as Vladimir Putin’s political rivals. Within two weeks after the finale was shown, the “Lost” offices were emptied out and became the hub for a new ABC show, “No Ordinary Family.” The “Lost” billboard on the Disney lot was replaced by one for “Detroit 1-8-7.” In network promos, the mystery of the island was supplanted by the mystery of Bristol Palin on “Dancing With the Stars.”

I thought “Lost” was finally over, but I was wrong. The next week I went back into the editing room to finish work on a secret addendum to the series that we’d filmed for the DVDs. I gathered with my collaborators for the Emmys, the Saturns and the Scream Awards. And most recently, four of the six mystical numbers that kept reappearing on the show turned up in the Mega Millions lottery drawing, and I found myself back in the news media commenting on the coincidence. I eventually realized there was never going to be a definitive conclusion to the experience of “Lost.” The conclusion was going to be as ambiguous as the ending of the series itself.

Over the six years Damon and I had achieved a level of recognition usually reserved for actors or some movie directors, certainly not TV show runners. We read the Top 10 list on “Late Night With David Letterman,” looking, as one friend said, as if we’d just been beamed down from the Enterprise. We were interviewed by Diane Sawyer. We filmed sketches with Bob Newhart, Jimmy Kimmel and the Muppets, although not all at the same time. We were on TV so often that we were forced to join Aftra, the actors union.

Upon returning from Switzerland to Los Angeles, I was happy to discover that things were suddenly much quieter. I was able to stick my nose into my wife’s business and offer her indispensable advice on her daily routine that she had somehow managed to survive without. Now the phone was not ringing endlessly, and every time I checked my e-mail there weren’t 20 urgent production questions. I felt relief but also great uncertainty.

Much of the pressure I was feeling was internal, but it was magnified by the expectations of those around me. As a television show runner you are required to put out a prodigious amount of creative work. We wrote and produced as many as 25 hours of “Lost” in a single year. As an artist, if you succeed in making something fresh and new, it often looks easy: Warhol’s soup cans, for instance. And when you make it fast, it seems even easier. A tortured novelist who takes seven years to write a book gets cut a lot of slack. But if you are capable of producing a well-honed hour of filmed entertainment every eight days, how big a deal can it be to come up with a new idea?

I opened up the file where I’d dumped thoughts for new projects I’d had no time for during the run of the show. Reading them over, they felt like an elliptical diary of those years. For example, in the dark early days of Season 3, facing servicing 15 actors and the sprawling mythology, with no end date yet in sight, I was struck with what apparently seemed like a great idea for a tiny two-person romantic, comedic ... stage play.

I started going to movies and reading through long neglected piles of books. I also started watching TV again. During the series, after writing scripts and editing episodes all day, it was nearly impossible for me to come home and watch scripted television without my critical brain kicking in. Instead of being caught up in the narrative, I could see only what was underneath — the blueprints and building materials. But now, removed from the process, I was able to actually enjoy episodes of “Eastbound and Down,” “Modern Family” and “The Walking Dead.” My creative batteries started to recharge.

One day I was e-mailed an “Unfair Employer — Do Not Work Notice” from my new union, Aftra. I was not allowed to take a job as an actor on a new cable series called “Sordid Lives.” Whew. I scratched that off my to-do list.

I discussed projects with a variety of producers and executives. They ranged from the sublime — an adaptation of Stephen King’s wonderful novel “Under the Dome,” which for a variety of reasons did not work out — to some decidedly less so: a guy and a ghost are a detective team. Or my favorite: a show about a hot dolphin trainer and her dolphins who work at an aquarium by day but perform secret missions for the government by night. (I know what you’re thinking: No, I don’t know how they get the dolphins back to the aquarium every morning by dawn.)

As the months marched on, my agent displayed great patience as I turned down show-running jobs and writing assignments. I was proceeding with caution but also enjoying the liberation of not being tethered to a show.

In Hollywood there is no bigger commitment you can make than to a TV series. Even marriages pale in comparison. Marriages don’t require signing iron-clad multiyear contracts. At least most first marriages don’t. In success, I would be working unremittingly on that one project for what could easily consume the next five or more years of my life.

Before my kids started back to school, we took a family trip to the East Coast. On a stop in Washington, we walked over to the Lincoln Memorial. Deep inside that Doric temple I found myself reading the words of Lincoln’s second inaugural address, which are etched in the north wall. As I absorbed them, the back of my neck started tingling. Despite a tendency toward hypochondria, I knew this was a good sign.

Lincoln’s words were an attempt to heal the rift between a North and South deep into the Civil War. One-eighth of our population was still bound in slavery. Having majored in American history, I knew this was a period of rich and compelling drama. But more important, as I read those words about the deep divide between two very different groups of people sharing one set of borders, they felt very relevant for today. And there was something else very appealing about the Civil War: no polar bears.

The idea of a story set in this era took hold, characters sprang to life, and pretty soon it was all I could think about.

I expected my agent to scream or cry, but he did neither. Instead, he told me he had another client who was interested in working on a Civil War project, a writer-director named Randall Wallace. Would I want to meet with him? I knew Randall Wallace from his work on “Braveheart,” among other films. I said absolutely.

As Randall and I started talking, I realized how much I’d missed the creative collaborations that are at the heart of making film or television. Together we built a story, “Point of Honor,” which in its simplest form is about the journey of a Confederate family in Virginia through the turmoil of the Civil War. And while it is vastly different from “Lost,” it feels no less compelling.

As I embark on this new project, I know what is looming ahead. Immense challenges of making a period show under tight constraints of time and money. Network battles and production crises. And inevitable comparisons to “Lost.” But as tumultuous as it all can be, I realize this what I truly love doing. Because nothing outshines the thrill of having a good story to tell.http://www.nytimes.com/2011/01/30/arts/television/30lost.html?pagewanted=1&_r=1

Monday, January 17, 2011

Since the start of Season 6 and especially since the Finale the fan base of LOST have been divided about whether Lost/Season 6/the Finale was and outstanding and satisfying experience or a total failure. There have been many arguments about the virtues and problems of this show. Lost is on trial and so I am calling on all those who still love everything about Lost to act as Lawyer to the Defense of the TV show LOST. In order to do so you must mount an argument that defends three important points.

1. Why Season 6 and the Finale were important to the overall arch of the series.

2. Proof that Darlton did have a plan all along. (State reasons and refute contrary arguments)

3. How and why Lost in 30 years from now will be looked back on as one of the most important things that ever happened to Broadcast Television.

Please write at least one paragraph minimum for each argument point with a maximum of two pages total. Submit your defensive essay in a Word Document attachment (if you don't have Word just send it in an e-mail) to me at room23hydra@hotmail.com by Monday, January 31rd, then a group of judges that I have chosen will read and discuss the essays and choose the essay that we feel mounts the best defence. A 1st prize will then be selected.

Friday, December 24, 2010

Thursday, December 2, 2010

While My Wife and I were in Hawaii celebrating our 10th Anniversary we took a Lost tour with the company KOS Tours Inc. http://www.hummertourshawaii.com/page/1111465 It was awesome the tour guide Jeff showed up in a Hummer and drove us around downtown and pointed out where Desmond & Charlie drove into the water in the Flash Sideways, the Marina where Ben shot Desmond, The interior & exterior (shot in different locations where Christian ran into Sawyer, the church where Desmond's Monistary & Daniels Oxford were shot. We returned later to try and find some of the locations which are in a later post.

Then we went up the Nuuana Pali Drive and we stopped at the place where They filmed the outside gate of Anthony Cooper's Home. Jeff told us that the small guard house was added just for the shot and then taken away. We weren't able to take pictures during the begining of the tour so I don't have photos of this.

After that we drove on the Nuuanu Pali Drive and stopped along the side of the road and he told us to look closely across the road because that area was where they shot the scenes when Ben & Locke visited Jacob's Cabin, Eko's death, where the Smoke Monster killed the Pilot and the tree where Hurley ghost whispered between Richard & Isabella. He told us that the film crew had cleared the area to film the scene and that Jeff and another tour guide had later visited the place after the episode aired and everything had already grown back. Thing grow that fast in Hawaii.

Saturday, November 27, 2010

Jeff stopped at a park area near the water in Kaneohe Bay and across the water he pointed out was the pier where the season 2 finale was shot where Jack, Sawyer, Kate & Hurley were captured and Michael was set free with Walt. It was also the place where Sun, Jin & Sayid lost Desmond's boat and Sun shot the Other Coleen. Unfortunately the Pier was private property so we weren't able to actually go on it. I was a little disappointed since I wanted to pretend that I had a bag over my head and was captured by the Others! If you look near the right side of the photo below you can see a white thing at the end of the pier, the crew had made it and the owner told them not to bother taking it down. But since it was just made to last long enough for the shot it has since fallen down. Its the Pala Ferry covering behind the picture of Sun.

This is where they shot the outside scenes of the building that Eko entered and ended up slitting the throats of a bunch of African Drug Warlords. It was also the outside shot of when Sayid was working on a roof in South America and Locke/Jeremy Bentham visits him to try to convince him to return to the island.

Friday, November 26, 2010

This is the same place that was used for the scene with Eko in Africa and the scene with Sayid in South America. The reason why it is currently painted in such bright colors is because its currently being used for shooting the upcoming ABC show "Out of Borders". Jeff our Tour Guide was telling us about how this land/house/water area was run for years by a man who would watch over the fish that would get trapped in the water area. He died a number of years ago so the water area hasn't been looked after recently.

This pier is currently a T-Shape, but back when they shot the scenes with the Dharma pier and of Jin's Father's Boat they moved them so that they made one ling pier, that's why on the show when Sawyer is getting into the sub you only see the mountain and now tree line since they were so far out on the water.

This was the sub prop that they had floating in the water for all of the Dharma Sub scenes. I was about to get onto it to pose, but the tour guide told me not to since it was falling apart. I tried opening the hatch and it was wood inside.

Back during World War 2, after Pearl Harbor the Army toke over part of Kaaawa Valley/Kualoa Ranch and turned it into a secret area to protect the coast from attacks. Many of the bunkers were still there along with this tunnel system which was used to film the exterior scenes of the Dharma Station the Tempest.